Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


b. 53-54

composition: Op. 25 No 12, Etude in C minor

 in FC (→GE1)

No sign in FE

 in EE

 in GE2 (→GE3)

..

In the main text, we give the  hairpins after FC, compatible with the sign in analogous bars 7-8.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 57-67

composition: Op. 25 No 12, Etude in C minor

cresc. - - in bars 57-60 in FC

cresc. in FE

cresc. - - in EE

cresc. - - in GE1

cresc. - - in GE2 (→GE3)

..

The difference in the scope of the dashes marking the range of the cresc. indication are probably non-authentic. The lack of dashes – total in FE and partial in FC – is most probably a result of inaccuracies of the engraver and copyist. The engraver would often forget about the dashes, whereas the copyist would lead his to the end of the page, which makes their later omission highly likely. The version of GE1 is certainly erroneous (dashes led to the end of the line), while the addition introduced in GE2 (→GE3) – non-authentic (which, however, does not exclude its compatibility with Chopin's intention). In this situation, we consider the version of EE to be most certain, in which the range of dashes can correspond to both the notation and intention of Chopin.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Inaccuracies in FC

b. 63

composition: Op. 25 No 12, Etude in C minor

Accent below L.H. part in FC (→GE1)

Accent between notes in FE & GE2 (→GE3)

Accent over R.H. part in EE1 (→EE2)

2 accents in EE3

..

All source notations certainly mean the same – an accent referring to both notes struck in the middle of the bar. In the main text we adopt the version with two accents – see bars 13-14.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 64

composition: Op. 25 No 12, Etude in C minor

2 accents in FC (→GE)

Two R.H. accents in FE & EE

Our alternative suggestion

..

All sources have one accent at the beginning and in the middle of the bar, placed between the parts of both hands. In the notation of FC (→GE), the accents refer to both hands (it is particularly clear in GE2 and GE3 due to the changed graphic layout of the notes) and this is the notation we give in the main text. Alternatively, we suggest an equal notation with two pairs of accents.

category imprint: Differences between sources

issues: GE revisions

b. 67-69

composition: Op. 25 No 12, Etude in C minor

Accents below L.H. part in FC (→GE1), FE & EE

Accents between notes in GE2 (→GE3)

Pairs of accents suggested by the editors

..

In the main text, we add an accent over the part of the R.H. – see bars 13-14. The cases of omitted accents in GE1 and EE1 (→EE2) – see bars 68-69.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions